It is the atmosphere of that long afternoon [rehearsing with Maurice Ravel] that remains with me, not memories of our playing at the Gallo Theater with a hero-worshipping audience overflowing onto the small stage. And should I want a musical accompaniment, as it were, to my recollections of that talk with Ravel, can’t I invoke Koussevitzky’s 'Daphnis and Chloe' magic – or Lucrezia Bori’s scintillating “Concepción” in 'L’Heure Espagnole'- or the Capet Quartet’s superb playing of the quartet one afternoon in Monte Carlo – or Horowitz’s uncanny projection and analytic dissection of 'Scarbo' one night at that house of the San Barlows perched atop the rocks of Eze on the Riviera? << less